Panpan
SELECTED JOURNAL ARTICLES AND BOOK CHAPTERS IN ENGLISH
“The Animation of Inanimate Objects in Chinese Silent Cinema.” In Chinese Animation: Multiplicities in Motion, edited by Daisy Du, Yiman Wang, and John Crespi. Cambridge, Massachusetts: Harvard University Asia Centre, forthcoming.
“Moving Images as Curatorial Methods: Animation, Interactive Digital Installation, and the Reincarnation of Traditional Chinese Art.” In Exhibiting Chinese Art in Asia, edited by Selina Ho. Amsterdam: Amsterdam University Press, forthcoming.
“Xu Bing’s The Character of Characters and the Possibilities of Calligraphic Animation.” Archives of Asian Art, 71 (1) (Spring 2024), 65–79.
“Photographs in Films Starring Ruan Lingyu: Considering Geometric Regions of the Motion Picture Frame.” Journal of e-Media Studies, 7(1) (2024): n/a (online journal).
“Repositioning Excess: Romantic Melodrama’s Journey from Hollywood to China.” In Melodrama Unbound, edited by Christine Gledhill and Linda Williams, 219–236. NY: Columbia University Press, 2018.
“Fan Xuepeng.” In Women Film Pioneers Project, edited by Jane Gaines, Radha Vatsal, and Monica Dall’Asta. NY: Columbia University Libraries, 2017.
“Rotoscoping Body: Secret Dancers, Animated Realism and Temporal Critique.” Spectator, 36 (1) (2016): 33–42.
“Xiaoqingxin Film as the Possible Prospect for Taiwanese Popular Cinema.” IAFOR Journal of Asian Studies, 2(1) (2016): 74–84.
“Animating Landscape: Chinese Ink-and-wash Animation, 1960–2013.” International Journal of Comic Art, 16 (2014): 380–397.
SELECTED JOURNAL ARTICLES AND BOOK CHAPTERS IN CHINESE
生死之間：電影中的靜照與時間書寫 [On the Cusp Between Life and Death: The Still Photograph in Cinema and the Question of Temporalities].當代電影[Contemporary Cinema], 9 (2022): 32-39..
電影與媒體研究的空間轉向 [The Spatial Turn of Film and Media Studies].當代電影 [Contemporary Cinema], 3 (2021): 18–23.
夢逐潮聲去——“冷戰”格局下的潮語戲曲片 [Teochew Opera Film in the Cold War].當代電影 [Contemporary Cinema], 7 (2017): 140–143.
當學術主體性進入影史寫作領域——從“華語電影”爭鳴說起 [When Subjectivity Enters the Field of Film History].當代電影[Contemporary Cinema], 5 (2017): 27–32.
重演的雅努斯時代：電影、學術與人文精神 [The Janus Age Once More: Film, Academia and Humanism].思逸：文藝文化研究期刊[Siyi: A Journal of Arts and Culture],vol. 1 (2015): 4–6.
眾聲喧嘩與艱難起步：中國動畫研究的現狀與展望 [Existing Scholarship and Prospects of Chinese Animation Studies]. 電影藝術[Film Art], 359 (6) (2014): 39–42.
跨越敘事藝術的藩籬：論《紅樓夢》的跨媒介改編 [Crossing the Boundaries of Arts: Trans-media Adaptations of Dream of the Red Chamber]. 紅樓夢學刊 [Journal of Dream of the Red Chamber], 6 (2014): 63–84.
風格的矩陣，生命的呼吸：從《大象》看電影創新之路 [The Origins of Originality: The Case of Elephant].電影評介[Film Comment], 432 (2011): 40–42.
從湯顯祖到《紅樓夢》的美學延承：以“香菱學詩”爲核心 [From Tang Xianzu to Dream of the Red Chamber: A Study of Xiangling Learning Poems]. In 北大社團學術作品合集 [An Anthology of Academic Works of Peking University Associations], edited by Peking University Youth League Committee, 188–193. Beijing: Peking University Press, 2010.
EDITED JOURNAL ISSUES
Special Issue: “The Digital Humanities.” Journal of Chinese Cinemas, expected 2024.
Special Issue: "When the Shadow Flickers: The Moving Image in Contemporary Chinese Art." Journal of Contemporary Chinese Art, co-edited by Jiehong Jiang, expected 2025.
TOOLKIT E-BOOK
Toolkit: When True Love Came to China (London: Screen Worlds), 2024.
https://screenworlds.org/.../when-true-love-came-to-china/
ARTIST BOOK
Handscroll, Concept and Poem by Panpan Yang. Relief printing by Diyou Yu. 2024.
BOOK REVIEWS
“Review of China in the Mix: Cinema, Sound, and Popular Culture in the Age of Globalization.” China Review International, 24(1) (2019): 71–74.
爇情光影与历史褶皱 [Review of Fiery Cinema: The Emergence of an Affective Medium in China, 1915-1945]. 當代電影[Contemporary Cinema], 4 (2016): 199–200.
SELECTED PUBLIC-FACING ARTICLES AND INTERVIEWS
楊槃槃對話周聖崴 [Interview: Panpan Yang in Conversation with Shengwei Zhou]. 深焦 [Deep Focus], August 13, 2018.
《女他》與物動畫的前世今生 [SHe and the Secret Life of Object Animation]. 深焦 [Deep Focus], June 21, 2018.
2017年國產動畫記 [Chinese Animation 2017]. 澎湃 [The Paper], February 1, 2018. https://www.thepaper.cn/newsDetail_forward_1975969
再看《新白娘子傳奇》: 信物, 唱段，與愛情的第二種結構 [The Legend of White Snake: Tokens, Singings, and the Second Structure of Romance]. 虹膜 [Iris], 96 (2017).
訴不盡的《滾滾紅塵》[Red Dust]. 虹膜 [Iris], 79 (2016).
阿涅斯·瓦尔达:「新浪潮恐龍」的三重生命[The Triple Life of the French New Wave Dinosaur]. 虹膜 [Iris], 62 (2016).
虛假記憶與懷舊變奏: 也談《大聖歸來》[Prosthetic Memory and Varied Nostalgia: Monkey King is Back].虹膜 [Iris], 48 (2015).
菊石遺痕：管窺楊德昌《追風》的動畫美學 [Traces of Ammonites: Animation Aesthetics of Edward Yang’s The Wind]. 虹膜 [Iris], 45 (2015).
《輝夜姬物語》: 當時間溢出[When Time Spills Over: The Tale of Princess Kaguya]. 虹膜 [Iris], 35 (2015).
SELECTED TRANSLATIONS (CHINESE TO ENGLISH)
Bai Jingsheng, “Throwing Away the Crutch of Drama [丟掉戲劇的拐杖].” In Chinese Film Theory and Criticism, edited by Guo-juin Hong, Jason McGrath, Victor Fan and Hongwei Thorn Chen. Amsterdam: Amsterdam University Press, forthcoming.
Eileen Chang, “On the Future of Cartoons [論卡通畫之前途].” Association for Chinese Animation Studies (ACAS) online publication. http://acas.ust.hk/2018/01/21/on-the-future-of-cartoons-1937/
SELECTED TRANSLATIONS (ENGLISH TO CHINESE)
Wu Hung, 中國繪畫的媒材與形式 [Medium and Form in Chinese Painting]. In 第一堂课：在哈佛和芝大教美术史 [The First Class: Teaching Art History at Harvard and University of Chicago], 334-346. Changsha: Hunan Fine Arts Publishing House, 2020.
Dana Polan, 好萊塢二戰政宣片的風格規範與異象 [Stylistic Regularities (and Peculiarities) of the Hollywood World War II Propaganda Film]. 電影藝術 [Film Art], 4 (2015):94–100.
Richard Maltby, 標準展映合同和經典好萊塢電影未被譜寫的歷史[The Standard Exhibition Contract and the Unwritten History of the Classical Hollywood Cinema]. 電影藝術 [Film Art], 2 (2014): 126–132.